Productivity incognito!

Monday was a good day. I got to paint in San Antonio after I picked up a painting from JR Mooney's (the framers). I came away with two incomplete zketches and a mind swimming with inspiration. I'll have to go back in time in the next post and show you the last two paintings I liked. Not right now, though.

After I picked up Live Oak Lineup (I'll show you later...) from the framers, I booked it to the San Antonio Botanic Gardens and ended up painting in the parking lit. The sun was setting, there was fantastic color, the trees in the background ranged from gray-greens to pink and purple- it was awesome! The light was changing so fast that each time I looked up I saw a different gorgeous scene than the one I was working on. I had to laugh! It felt good to be racing time again. I haven't done much plein air in a while. (Sometimes just a few days without feels like n eternity.) I have been working on letting my artistic license get some air. My colors have really benefited from it. The only problem I had while working on this sketch was that I was a bit uncomfortable with my environment. I jumped every time a breeze pushed a leaf, scratching across the pavement behind me. Mot knowing the area can be a little nerve wracking when when painting alone. So for the next painting I called a friend who is not currently a painter, but seems to be a possible (and willing) convert. (A note to my fellow painters out there- Adding to the ranks, baby! We shall rule the wooorld- Muahahahahahahahaha!)

I have been wanting to do some night painting for a while now, but as you may have guessed, the idea of doing so without companions is a little scary. More often than not, I do not know that someone has been breathing down my neck while I am painting until they have been there for a while.

Hence, the tour guide/body guard/possible future painting buddy (evil chuckle). After grilling me for a idea of what I wanted to paint, we around to several very nice possible venues, but we settled on a schnazzy spot on the river walk. Gaaaawgeous! Imagine warm spheres of light and flashing fireflies of color in strands, dangling form trees and bridges, all reflecting off of a sweet little strip of water. Mmm mmm mm. It was cool, baby. It was cool.

Next time, I am going to have a light source on my easel to light my palette. I had a light overhead, but it was dim and my colors were waaaay off. Had to practically stick your nose in the paint to see the sketch.

The reference photo blew my socks off. The sketch is not so bad, needs more definition in the reflection of the bridge in the water, the color of the bridge needs variation, and ... well... I'm not going to take the sketch any further because I am going to paint this scene again, but much much larger.

Slogging through the Muck, and a new painting is born

This is a field sketch (6"x8" oil on canvas board) of the larger piece I am working on now. I love the rusted tin, the cracks in the walls, and the patina on the limestone. Good stuff. I used the sketch as a model for the larger piece, as far as proportions go, which I am not sure is always such a good idea... There were some discrepancies, which I found when I took the larger piece to work on location (hurray for the french easel!). Had to change the roof line and some others a bit. I prefer to work wet on wet, but things dry faster here than in Washington... I wasn't sure of what to think of today's work, but by the time I got back to the studio, I was feeling better about my progress. I'll post more pics later.



My mind has been a terrible mess for the past few weeks(take a look in the back of my car, and you will see what my noggin innerts looked like). But here is what I have gathered from looking back on similar experiences:

Chaos ensues just before I have a breakthrough of some sort.

Whether the breakthrough is personal or related to my work- it always has the same effect. (...but then, "personal" and "my work" kind of go hand-in-hand, don't they?) This happens often, it is cyclical. I happily paint for a while and then all of a sudden it feels like my creativity has dried up. I stew on it for a bit, until the ideas and methods begin to boil and the next thing I know I am sailing through another fresh season of painting bliss!

An example of the method in my madness: My paintings generally looks shoddy right up until the last few touches are placed. Especially the cloud paintings- they are this huge jumble of oddly shaped color masses, not quite connecting, certainly not related, and as the final brushstroke go down -BOOM! we have clouds.

I feel like I have been in a funk for a little while and I realized today that part of my problem was just not letting each painting be what it was going to be. I have had the most success with a painting when I sit back and watch it develop. No expectations. No forcing it to unfold before it is ready. That can be frustrating. Its like getting to know people. I find it difficult sometimes to step back and let things happen at their own pace. Sometimes both people and paintings have to be allowed to unfold at their own pace. The outcome can be uncertain, but more often than not well worth the wait (some of my friendships have taken over a decade to ripen, but oh how sweet they are! Love-em.). Egad! Imagine working on the same painting for a decade plus! Ccchhhkk! The thought is bitter in my throat.

Summing up! It is all about letting go of the outcome. All I can do is know what I want and let it happen. (Now if I can just remember that when I get into the studio tomorrow morning... I need fifty sticky notes and a sharpie- STAT!!!)

Oh! My ad is out in Fine Art Connoisseur for November and December- check it out! I love it. Lee, you might recognize the painting...

Studio space and a new painting- WIP

Ok, so I am having some trouble with blogger right now and it is not letting me upload any more photos. This is Soren playing at the window in the fabulous studio space so graciously given by my loving Auntie Vick and Uncle Jeff! It is wonderful! Loads of light, a window that I can open to let in the fresh air, and its ok if I poke holes in the walls to hang stuff from because someone else has already done it.

The space came with a welcoming committee- a tiny stripey-tailed gecko. He was so cute- I took a picture of him and would live to share it with you, but I can't... as I mentioned earlier.

Oh! Another wonderful thing about this space is that my cousin's business and my Aunt and Uncle's business are all in the same building so I get to see people I like more often! How wonderful is that?

This is what I am working on right now. I have to admit, I have been struggling with it. Panic. I've been feeling panic. I've been working from that odd place of "will they like this." That doesn't work. I keep second guessing myself with every brushstroke, and I know- I KNOW that if I would just relax and do it the way I would like it, the piece would paint itself. No stress. No fussing. No questioning myself. I feel like I have moved a little too far away from my intuition and need to ground myself again.

I took a break this afternoon and did a headstand to try to see the piece from a different angle... and just to see if I could still do it. It felt great (just in case any of you get into a similar situation and are looking for an outlet, or a fresh view point). Oddly enough, I think it helped a little with the grounding situation... Maybe it was all the blood rushing to my head.

I have been thoroughly distracted lately. Pleasantly so, but it leaves my head spinning and sometimes I wonder if I will ever find a routine again. This past week has been a bitter sweet return to some familiar daily activities, but with any luck, Saturday will bring back the tummy twisting excitement of my oh-so-enjoyable distraction.

Back to business, I made a lot of progress on this painting today and aim to post another pic tomorrow. I hope to finish it very soon... we shall see.

Have Step Ladder, Will Travel

Have Step Ladder, Will Travel
11" x 14"
oil on canvas

Well there it is. I am so happy I finished it today, now I can move on to the cloud paintings.
The lighting/color on this pic is way better than in the previous post.

Working (WIP), processing... processing

I am working on another French piece (dreaming on canvas) at the moment. I'll be finished with this one shortly, and will be starting my large cloud paintings and the first pieces for Whistle Pik. Did I tell you? I have been offered some wall space in the gallery of my dreams! They want much larger pieces than I have been making, so every time a painting sells, I am to replace it with a larger one. Yee-haw!!! I have so been wanting to work large!


So moving on to what I have been mulling over this morning...

I've been thinking about the transitional relationship between highlights and shadows, human behavior, and addiction. Odd combo, yes?

There is something of a warm shock in the shift between light and shadows. Its like those tantalizing wisps of electricity that pass between two people with great chemistry. Its a deep, sometimes clear heat that is obvious to the parties involved, but not as noticeable to indifferent onlookers. It is fleeting and delicate, but powerful. I think THAT transition between the shades can make a spectacular painting out of an OK one.

But its not just about the transition.
A good painting has the lure of beautiful form, clear and sound values, and luscious textures for that fabulous little spark of chemistry to turn it into something amazing.

Transitions are exciting. The problem arises when that lovely bit of chemistry is taken too far. In the excitement of noticing those wonderful little explosions of heat between cool and warm colors, it is easy to over emphasized that transition and lose the impact.

All things in moderation, right?

Aloof, baby. Aloof!

Or is it passion, baby, passion?

Every once in a while we artists sail through a piece, totally in The Zone, fascinated, in love with the process, and the finished piece is bathed in heavenly light as a chorus of angels sing its glory. Those times are fleeting, but so incredibly sensual that they keep us coming back for more. There is a secret hope that the next painting process will be magic. That hope is what keeps us working through the monotonous, "I've lost my muse" times.
Its an addiction.

Hello, my name is Sara and I am an addict.

Pacific Fog

Pacific Fog
6" x 8"
oil on canvas board

Years ago I recorded this scene in my Moleskine sketchbook. I had a very vague memory of the colors, so I used whatever I thought would look right.

Again, my main focus was brushwork. Practicing laying the paint down and leaving it.

Hill Country Morning

Hill Country Morning
6" x 8"
oil on canvas board

So, I have a confession to make... I did not paint this today. I painted it Monday. In fact the next post is from last week as well. Call me a slacker.

I had the chance to meet up with my girlfriends (whom I have not seen in 13 years!) from high school, this weekend. So I have been rationing out some of last weeks paintings in my posts.

The Monday paint out was wonderful- I honestly thought I was the only person that showed because I was all alone at the top of the hill (the locals call it a mountain) with the fabulous views and the lovely breeze that occasionally morphed into hurricane winds and threatened to blow me away. Experience. Now I know why I was the only one at the top. Still, it was beautiful up there- well worth the possible threat of being blown away.

I have been processing Calvin Liang's sky paintings in my mind, and am so looking forward to capturing that luminosity and subtle, but diverse range of cool and warm colors in the clouds. Subtlety. It can be tricky.

Funny thing, sometimes people can get their point across a lot better by not saying as much, but using body language and a few carefully chosen statements, rather than blatantly announcing their intentions. I think painting is the same. When a painting is created with as few brushstrokes as possible, with carefully chosen colors and deliberate execution, the finished piece can sing its own praises without an explosion of color or extreme contrast.

THAT, my dear friends, is the lesson that has been forming in my mind for some time now... I love how the non-art world can give me answers to questions I have been asking about my work. Human behavior is so amazing. Art is just an extension of our nature.

Middle Creek Mesquites

Middle Creek Mesquites
6" x 8"
oil on canvas board

Sorry about the washed out photo. I did a rush job on this batch of images, but will have a better one when I put it on my website. I'll let you know when I do that...

This was right down the street from the previous post's painting spot. I went a little haywire with the color. Well, with the red swath of earth.

Again, working on distance and laying down the paint and leaving it. I enjoyed working around the branches and foliage clumps on the Mesquite trees. I love these trees. They are so variable and limber looking in the shapes they take.

Middle Creek View

Middle Creek View
6" x 8"
oil on canvas board

I have been concentrating on my brushwork and portraying distance. I adjusted some of the colors on this one last night. The distant hills were so dark, they were barely distinguishable from those in front of them.

I have always been intimidated by the thought of putting down the paint and leaving it, but its actually a lot of fun! A challenge. Challenge is good. Plus it forces me to concentrate on the exact color I want to put down.

Better late than never....

I have been trying to process all the information I gathered from Calvin Liang's workshop.

Day 2 at Becker Vineyards

Here is what I have been mulling over:

Block in the big shapes, but do not close off the shapes by butting your colors directly against each other- at first. This gives you some leeway on the shapes.

Work from the foreground to the background.

Demo: Lovely

Always have warm colors next to cool colors- within highlights AND shadows.

Be careful when laying paint. Each layer should allow any under layers to shine through.

Architecture is tight at the top and loose at the bottom.

Day 3 at Luckenbach

Shadows in trees are up high in the canopy, and the lower part (trunk) is lighter.

You can see his grays are full of color.

Use liquin mixed with color to soften edges.

The bottom edges of everything should be soft.

Always test a color before laying it down.

Day 4 back at FAS, it rained shortly after this. Completely obliterated the scene.

Oh to see all the colors in that wonderful sky! This is my favorite.

Now get this- I asked him if he had to drive around a lot to find his painting spots. (That is what I have been doing.) He paints wherever he is. That is the kind of plein air painter I want to be! Imagine... every spot is a good spot! I'll add that to my list of goals.

I am still learning from that workshop. Money well spent!

FAS Calvin Liang Workshop

Sauer Beckmann Farm
9" x 12"
oil on canvas board

Let me start by saying day one was TOTALLY AWESOME!!! For really and truly, if you ever get a chance to take a class from Calvin Liang, do it! I kicked myself all morning for not bringing my camera. I wish I had a photo of today's demo to show you. It was beautiful, and so simple, a lot of implied shapes and lines. Just amazing! I aim to paint with that kind of control and confidence.

Above is my painting for today- I took the photo after getting home. I have never tackled dappled sunlight before. It was a little daunting. The shadows kept moving and disappearing and reappearing and rearranging themselves into new patterns.

At one point, I was painting away and feeling a little frustrated and disappointed with my progress, and Calvin came by and said "don't touch this part anymore, and make this cool color warm." Wouldn't it be nice to have someone standing over our shoulders every time we paint telling us how to improve our work? Instead of a Shoulder Angel, it would be a Shoulder Artist. My problem came from trying to paint what I knew and not what I saw. The shadow colors were warm oranges and pale purples, not the blue and greenish-gray I had been using.



So here are some of the things I learned today:

There are 4 elements of painting.
1. Shape
2. Value
3. Color
4. Edges

Always start your painting with a preliminary thumbnail to work out the design. -And don't just copy what you see- create a good design.

Color Structure: Think of the color wheel, and paint with the full circle of colors within highlights, shadows, and mid-ranges. Everything goes in a circle.

Now keep in mind, these are Calvin's tips after being digested by my mind. When you take a workshop from him, I would love to hear what you get from it because we all gather different information.

I am now off to rearrange my plein air set-up... I made the mistake of taking my French easel instead of my Thumbox, because I thought it would be easier to paint on the 9 x 12 canvases. I have a clip for the Thumbox to keep anything larger than an 8 x 10. I'm going back to my beloved itty set-up. Someday I will have a larger pochade box for larger canvases.

I Spy Something Red

I Spy Something Red
6" x 8"
oil on canvas board

I was scrounging around my aunt's kitchen yesterday looking for something to paint. I had planned on painting in her garden again, but it was hot outside and I was much more inclined to work in the air conditioning. I really like the way this one turned out. I had my doubts in mid-process, but it all seemed to come together the same way clouds and reflections on water usually do. I am intrigued. Painting glass is fun!

Next week is going to be a little different. I get to go to a plein air workshop with Calvin Liang. I am so excited!

Linen

Linen
6" x 8"
oil on canvas board

I was in a bit of a hurry to get this one posted, and I am afraid the colors aren't living up to reality. As it turns out, I really like this one, so I am putting it aside as another possibility for the Whistle Pik show in December.

I got my website set up and thanks to Fine Art Studios Online, it is beautiful!

Years ago I made the mistake of building my own website. It was a nightmare. I love the set-up on this one, and it is so easy to update!

Check out my fabulous new website: sarawintersart.com

Tourmaline

Tourmaline
9" x 12"
oil on canvas board

My goal is to finish three paintings by Wednesday. This one took me a little longer than I thought it would.
I think my next two are going to have to be smaller to meet my deadline.

I picked the title because tourmaline is a semiprecious bluish green stone. I like it. I like this boat too. Its a little jewel.

I am going to have to make some changes in the type of yellow I use though, because the one I am using has some red in it. I've been having trouble getting the clean, pure color I want.

Three Sisters

Three Sisters
9" x 12"
oil on linen canvas board
Click here to purchase.

I took the reference photo for this painting last spring at Fisherman's Wharf in Seattle.

Colorado Storm Clouds

Colorado Storm Clouds
16" x 20"
oil on canvas
Click here to purchase.

I really enjoyed this painting! This was from another of my fabulous stash of reference photos from that glorious rainy sunset. I was trying to decide between a photo of boats in the water, but this one won out. I enjoyed the more subdued colors in this photo.

The funny thing about cloud paintings is how they look like a big fat stinking mess until right before they are finished. I learned a while back not to freak out about the pig sty on my cloudy canvases until it is all over and done with. I wiped several paintings before learning that lesson.

I am trying to concentrate on composition. I've been reading, and the almighty "they" seem to agree that the key to a good painting is a good design. Food for thought.

Another Skyscape - WIP

16" x 20"

Its been a while, but here is the start of another cloud painting.

Texas Windmill- testing, tesing 1,2,3

Texas Windmill
6" x 12"
oil on canvas

Oh joy! I have been trying to learn a new program (Aperture 2) and I have made a breakthrough. I can now adjust a photo, and then (hold onto your hats!) POST IT ON MY BLOG!!!! WOOOAAAAH!

Sounds simple, I know, but I totally underestimated the differences between a Mac and a plain ol' PC. I will never go back. NEVER, I TELL YOU! The only thing I really miss is the "end" button, and the right click... I think I saw something in the manual about that- I'll have to read it again.

So to the painting... This is a sweet little plein air piece I just love. (I'm setting it aside as another option for the Whistle Pik show. I like it that much.) The windmill and water tank are situated right next to a farmhouse surrounded by fields, hay bales, barbed wire fences, and a few clumps of cacti. As soon as the cactus fruit are plump and purple I am going to pick some and eat em! Beautiful views and tasty fruit. Life is good.

I may need to retake the photo. Its a bit washed out.
This is a test of the emergency blog post system.... this is only a test.

Firenze Jumble

Firenze Jumble
9" x 12"
oil on linen canvas board
Click here to purchase.

I stumbled upon this cluster of houses on one of Bill Guffey's virtual paintouts. The lines on the houses looked like they were trying to get as far away from each other as possible, as soon as possible. The colors were alluring- I did embellish them a bit, but i like it.

I am learning that painting doesn't have to be hard. Lately, I have not been sketching the scene first. I've been going with my gut and going with visualization... you know, visualize what I want the composition to be and then just putting it down. Sometimes the final painting is a little odd, but I can always change it or start over. Lessons learned.

I like it! Jumping in feels good.

Blue Clouds

Blue Clouds
9" x 12"
oil on linen canvas board
Click here to purchase.

I so love these panels. The linen has much more of a tooth than the cotton.

Working from a computer screen is very different from a photo or life. My clouds came out much more blue, but I like them like that. I was surprised to see the painting in natural light this morning. Lighting makes a difference.

I may use this scene again sometime and tweak the cloud colors to more grays and purples... just to see what happens.

HAY!

Hay!
9" x 12"
oil on canvas board (linen)
Click here to purchase.

About a month ago I was driving down Friendship Lane and saw all these wonderful pot-bellied hay bales lounging in the fields on either side of the road. I took some pictures and used them for the first time last night. I had originally set up my easel off the back porch, but it was soooo hot and the sun was soooo bright that I wimped out and decided to work from a photo instead.

I hadn't painted since I went up to Washington to pack my stuff for the move, so I was feeling a bit rusty. I have to admit, I was not mentally in the best of places while working on this one, but I found forcing myself to focus on the process of painting to be good medicine. It was a good reminder to ditch the "tossers," as my friend Simon puts it, and move on. Unpleasant people and unhappy thoughts are not worth wasting my time and energy on, especially when I can put my energy toward something as amazing as creation.

Art and laughter are the best medicine.

And chocolate.
We cannot forget chocolate!

Texas Summer Sunset

Texas Summer Sunset
9" x 12"
oil on linen board

This is the view from the middle of the field next to my mom's house. Just over the hill is the Kerrville Highway and some motels I forget the name of. The view hasn't changed much since I was a teenager. I'm glad.

I love this painting! Not just because I am in the painting-loving-mood, I am just really excited about this one. I love that pole with all the lines and boxes and streetlights sprouting out in every direction, and the colors that just explode out of nowhere at that most magical time of the day: The Golden Hour. Rightly named. King Midas had his way with the sky and the field, and every little weed became a thing of beauty.

The first day I worked on this one was kind of a mini disaster. I didn't get everything down that I wanted and my tripod was falling apart. Yes, my lovely, new, super-fantastic tripod that I adore so very much because it shrinks down to the size of a pixie cane and weighs just a bit more than a pencil... Anyway! The next day was better, and I was thankful for the previous day's work because I was able to concentrate on what I liked best about the scene- the contrast in colors. I am wishing now that I had taken a picture of the first day's work so you could see the changes. There were changes! Not huge, luckily the infrastructure was pretty sound. Just minor things like a shadow placement here and there, but even the small changes made a big difference.

I like it so much I am going to hang on to it for consideration into the Whistle Pik show in December.

I think this is another one of those transitional paintings for me. While working on it, I felt more in control of what I was doing than I ever have been. I even scraped away some of the paint in the sky on a whim and ended up with some much needed subtle variation. I didn't freak out when some of the blue-ish green from the trees blended into the sky... I just let it be what it would be, and I like the result.

I would like to say thank you to my friend Oscar Arroyo for sparking my interest with his utterly luscious paintings of electricity poles. I love it when artists take the mundane and make it beautiful.

Oh! and this painting is on linen, not my regular canvas. I totally see why people never go back. I'm hooked. I plan on working through the last of my canvases and changing over for good. The paint behaves differently on linen. Subtle maybe, but definitely different. It just feels good.

Little update: This might be the last post I make for the next three weeks. We'll see how things go. I'm in the process of moving back to Texas, and you know how that goes...

Pip pip, cheerio- I'll be back soon!



P.S. Thank you all for leaving your comments- every blogger and artist knows the incredible value of your support!

River Road

River Road
6" x 12"
oil on canvas board

Funny, but I didn't care much for this painting until today. I tucked it away in my wet canvas carrier to dry for a few days and lo and behold- I love it! It makes me want to get out and paint more. Maybe I am just in the right sort of mood to enjoy it now.

Enchanted Rock Project- WIP

This was my first attempt at painting Enchanted Rock. The colors are way off and the dome looks like a giant potato. I am going to rework it using Enchanted Rock Shadows and some reference photos I took as a guide.

Tomorrow Mom, Soren and I are heading to Austin to run some errands, have lunch at Whole Foods, and check out Plein Air Austin's "In the Plein Air Tradition: Art on Location" show. I love Austin! I have been able to see (in person) more incredible art in the past six weeks than I have in the past year.

A Lamplit Memory

A Lamplit Memory
6" x 8"
oil on canvas board
Click here to purchase.

This was a study of reflected light and colors. Once I really started looking, I was amazed to see colors in places I wouldn't have imagined. I love this little painting.

It says warm, cozy, safe, and peaceful to me... and the picture in the painting is one of my son reclining on my arm shortly after he was born. I just may have to do this one larger.

Still playing Catch-Up

Aunt Vicki's Garden
6" x 8"
oil on canvas board
Sold

I loved the colors of the light, shadows and reflected light on and around that pot, and I had fun with the limestone paving stones.

A Break from the Heat

A Break from the Heat
6" x 8"
oil on canvas board
Click here to purchase.

Those clouds were a welcomed sight. It was so hot! I loved the cool swirling energy of the scene. It was a relief.
I truly saw something for the first time the other day- there is a warm band that usually stands between a cool color and a really intense/bright one. Does that make sense? Anyway I find myself looking for it everywhere now. I was so obsessed with it when I did this painting that I think I may have gone a little overboard with it, but I still like it. I love every painting that represents a transition in the way I see or think. It means progress.

Mark your Calenders!

Rue de Faubourg Brasserie made it into the Oil Painters of America's Western Regional Show- yehaw! I am shipping it out this week.

I cut and paste the following info about the show so I wouldn't have to paraphrase something that is already short, sweet, and to the point.

"This year’s Western Regional Exhibition will be held at the beautiful Howard/Mandville Gallery in Kirkland, Washington, August 8 through August 30, 2009. Located near Seattle, Kirkland is a small, yet sophisticated town, offering many opportunities to explore the beautiful Pacific Northwest area. Situated on the shores of Lake Washington, Kirkland offers many prospects for enjoying aquatic activities and bird watching, as well as viewing the beautiful panorama of the Olympic Mountains.

Please mark you calendars now for the opening reception, which will be held on Saturday evening, August 8, from 6:00 p.m. to 9:00 p.m. The awards reception will take place at approximately 7:00 p.m. A two day preview period will take place on August 6 and 7 for collectors, however, no paintings will be sold during this time.

This year’s Western Regional Juror of Awards will be Master Signature member Jeffrey R. Watts. Mr. Watts is widely regarded for his figurative work and will provide a 3 hour painting demonstration on Saturday morning, August 8. In addition, we have a full day of educational events planned including a “Meet the Expert” Q& A session with OPA president Neil Patterson and a presentation by Scott Gellatly of Gamblin Artists Colors on studio safety, environmental concerns and important tips for traveling with your paints."

Mansfield Dam: Lake View I
6" x 8"
original oil on canvas board
Click here to purchase.

Mansfield Dam: Lake View II
6" x 8"
original oil on canvas board
Click here to purchase.

I got to go paint with the Plein Air Austin Crew and these are the result. It was a great painting session filled with beautiful views, wonderful people and unexpected weather changes. We could see the rain coming from across the lake. Awesome.

Texas Oaks

Texas Oaks
6" x 8"
original oil on canvas board
Click here to purchase.

Another wonderful view from my mom's back yard. My son was taking a nap, so sat on the back door's step and stole a few minutes for this painting.

I love this painting. Greens have been giving me trouble for a while now, but I stopped trying to see them as shades of green and started looking for the reds, purples and blues instead.

I am so hooked.

My Mother's Crepe Myrtle

My Mother's Crepe Myrtle
6" x 8"
original oil on canvas board
Sold

I was visiting with my mom while she watered the back yard and fell in love with this Crepe Myrtle. The evening sun was shining on it perfectly and the blooms were fantastic.

I am amazed at how many stunning views I find in my mother's back yard. I never saw so much beauty in the Texas Hill Country as I do now. Everywhere I turn I find another spot I would like to paint. I love plein air!

Enchanted Rock Shadows

Enchanted Rock Shadows
6" x 8"
original oil on canvas board
Click here to purchase.

I had a request from a friend for a painting of Enchanted Rock, and this is one of the studies. I found a great spot with absolutely no shade that overlooks the dome. (sweatin' and paintin') One good thing about a drought is all the dust in the air that creates such beautiful atmosphere in the distance.

I look forward to going out and painting some more. This place is a great subject with endless painting possibilities.

Uppers and downers... but mostly uppers!

So I'm running without a camera this week. Its in the shop. (Canon has excellent customer service, by the way)

But that really doesn't matter much because I have done very little painting. I have been assembling canvas panels, cleaning brushes, trying to figure out what I did with that other tube of yellow, and sketching a lot, in a very mild attempt to plan the next painting.

And... I get to spend six weeks in Texas visiting family -starting Monday!! So I've been a little preoccupied with planning for that as well. My brother-in-law (Brad's doublemint twin) and nephew are coming up for a visit this weekend so I will probably get to paint on Saturday or Sunday. Keeping my fingers crossed!

Some really good news: I got a formal invitation today from Whistle Pik Galleries to participate in their 2009 Christmas Miniature show. The show will run for the month of December in the "Main Street" gallery, and the Show Reception/Artist's Wine Reception will be from 6 to 8 pm on Friday December 4. I will be there if anyone wants to come say howdy. I'll be posting the info again the closer we get to December.

And just when you think the deal couldn't possibly get any sweeter, it does. I get to see my family again when I go down for the show! Awesome! Its not exactly "home for the holidays," but its close enough. I haven't been in Texas in December in years and years. Maybe I'll get lucky and be there when the Kristkindl Market/festival is going on. How fun!

I get to be a tourist in my hometown! I appreciate the touristy stuff in Fredericksburg so much more now that I don't live there... aint that the way, though?

Ahhhhhh.....

Seattle Boats
6" x 9"
oil on canvas board
Sold

Small paintings move wonderfully fast. I can see why people become daily painters. Instant gratification- ahhhhh!

Sigh...

Still no paintings to share...

Its been a rough painting week, so I have been seeking solace in art books. Three in particular are Alla Prima by Richard Schmid, Brushwork by Emile Gruppe, and Gruppe on Painting by Emile Gruppe.

A wealth of wisdom...

Plein Air painting is Hard.

Union Flat II
6" x 8"
oil on canvas board

Whew! I decided today to go back to Union Flat Creek to try my hand at the rocks again. Getting there, but they still just look like globs of paint rather than rocks. What am I not doing that I should?

I may have to do some up close and personal rock studies...

I also decided to concentrate on the drawing bit of this painting, and found that helped a lot. I've been reading Richard Schmid's Alla Prima so today, I was trying to look at the subject as a specific problem that I needed to work out. As I was painting, I realized how little attention I have been paying to the exact placement of objects in the view.

Color. All the greens really get me. Subtle changes make all the difference, I suppose...

I need more drawing practice.

Multitasking: Completed Castle, another plein air painting, and Kreativ blogger.

Castle on Anderson Road
11" x 14"
oil on canvas
Sold

Woohoo! Finished! I fought with the fence for a while- scraped it three times. Finally I daubed some paint down and holy-pamonie! it looked like a fence. How did that happen!?

Thank you little painting elves.

Sunset Cloud Study
6" x 8"
oil on canvas board
Click here to purchase.

I got to paint outside again last night! I ended up with this high key painting of the view from the parking lot in front of the apartment. I wasn't chasing shapes this time. I sketched out the basic design first and then went with it.

And, thank you Jared Kelly for passing the Kreativ Blogger award on to me. I will happily pass it on to seven other people whose blogs I really like. Check them out- it is worth your time.

Marian Fortunati
Laurel Daniel
Liz Holm
Perry Brown
Dana Cooper
Lee Brown
Rick Nilson
Terry Miura

So that was eight... I can't count.

Yet another lovely plein air painting day

Break Time
8" x 6"
oil on canvas board

Painting number one: My first ever attempt at painting sheep! I like it. I practiced rearranging the scene to suit my needs. Which was kind of a necessity because the sheep kept moving around as they belched at their young. These sheep didn't bleat. They belched. It was the strangest thing I have ever heard.

Blah
8" x 6"
oil on canvas board

Painting number two: Same location, facing a different direction. I don't care for this one. There is not enough definition in the trees- they just sort of blend in with things they shouldn't. There isn't enough contrast to suit my taste either. I also don't care for the way the trees all sort of line up. Irritating.

The sheep were very obliging and moved to this side of the field when I started painting it.
I'm going to try this one again another day.

Union Flat
6" x 8"
oil on canvas board

Painting number 3: I have driven past this scene like fifty times and never stopped to try it. The rocks are what drew me, initially, but I ended up concentrating more on the water so my rocks are pretty indistinct. I enjoyed this painting, and will definitely be stopping there again. Next time I will focus on the rocks a bit more...

Progress? Aaarrgh!

It always gets me when I drag my feet.

So here is what happens.... I let a painting sit on my easel for more than two days without hitting it hard. I feel like I am not making any progress... which I am not, because I am not taking the time to paint, and frustration sets in because dog-gonnit, this painting is just not painting itself! What is up with that!?!

I am incredibly intimidated by these greyish shrubs. So I stall. Part of me wishes little elves would come and fix the shrubs on my painting in the night so when I wake up, everything will be perfect and la-la.

Sigh.